Sometimes its hard to separate the art from the artist, but Lily Allen has once again drawn upon brutally honest and painfully raw experiences from her own personal life to create an all-encompassing and emotive sonic journey that keeps your finger firmly on the repeat button. Absolutely nothing to be ashamed of here.

Despite the continuing theme the mixtape is no way disappoints, exuding a level of excitement and appreciation of a body of work that Erykah display’s both through music and her own style.

It’s truly miraculous that this experience formed in just eight days of work, and the engrossing journey passes by just as fast - if you survived the voyage, you’ll be pressing repeat immediately.

Parastrophics is mischievous and atomised techno pop for listeners who think they've heard it all.

The Hundred In Hands manage to create mesmeric tracks of monolithic noise and danceable beat.

Her new music sounds way more nuanced, as if Margaret has learned to work on another level of detail and to find deeper meaning in small, insignificant words. This brings her vocal comeback closer to the approach of another maestro of layered lyrics and sonics – Phoebe Bridgers.

‘Prestige’ is an album guaranteed to soundtrack some upcoming sunny days, imbued with fun and genuine passion in equal measure.

The Foo Fighters return in defiant fashion with an album that refuses to let up from start to finish.

Some good, many passable, a few questionable, to say the least. There's plenty here to pick out and enjoy, and that's all that will matter when the single songs are playing in your pocket, but after all the gems the label has given us over the years, 4AD deserved something better.

She imparts yearning with such controlled restraint and lightness of touch it’s sublime.

Arrowing down to depths that the naked ear cannot make out, Phon.O can lift you.

Marrying a bewildering array of influences, Shaker Notes presents a probing, unified voice on what could well be White’s finest album to date.

Though it might be lacking in the amount of quintessential indie floorfillers that we’ve come accustomed to with Peace, Kindness Is The New Rock And Roll shows progression.

Folk textures such as these can sometimes fail to stand out, but Williamson’s powerful vocals practically beg for attention. Either way, even if the idea of country influences doesn’t sound the most appealing, there’s something so alluring about Williamson’s serene tunes that it’s a worthwhile and lush listening experience.

Touches of R&B, the nostalgic beats and the impeccable harmonies that the four produce offer comfort with their familiarity and still manage to feel progressive with the 2020 take on these classic elements of an iconic music era. ... Near perfect pop production.

‘The Alchemist’s Euphoria’ is arguably one of the most daring, cohesive bodies of work that Kasabian have rendered to date; it demonstrates that when it comes to evolving, all it takes is courage, innovation and a dose of pure alchemy.

Bold, confessional and full of vulnerability, the Liverpudlian quartet serve up poetry amidst the pain with a stellar offering of euphoric resilience.

There is plenty to admire in the sound and structure, sounding far from a copy of the members’ previous groups. Each member is afforded opportunities to shine, it will be fascinating to see the longer-term trajectory of the project.

More an album that demands repeated listens, at times creates confusion, and juts from one influence to the next. Tatum’s record collection is clearly solid, and now he can again add one of his own to it.

Bombay Bicycle Club’s time away has propelled the band to a new plane of compelling sophistication, where musically and thematically they have evolved to create a beautifully profound and stunning soundscape full of promise and self-examination.

Rarely does it feel extraneous. Instead, it’s quite homogeneous, with certain timbres popping up again and again, underpinned by George Barnett’s commanding drumwork. This single-mindedness coincides with the group becoming a duo again.

A fine balance has been struck--along with no little gold.

While it has fewer standout moments than Squeeze and self-titled debut SASAMI, there are still moments of beauty.

The group stated they wanted to get back to basics and make a ‘good time record’, they’ve easily succeed, but Stiff also offers a band who continue to push their influences and have gigantic amount of energy left in the tank.

Valtari is glistening, subliminal and sounds as if it's balanced on a falling raindrop.

Overall, a pleasantly harmless album with some clear highlights. However, it will be interesting to see how the US singer varies her work as she begins her solo career.

The band's insistence on shouty, over-the-top moments like 'Pacific Time' or 'Mr. Wrong' still grates, but this is offset by the likes of 'City Storms', 'Summer Of Chances' and 'Different Angles', which possess some of the most urgent pop hooks and catchy anthemic choruses The Cribs have ever delivered.

Without a doubt, ‘Only The Strong Survive’ exemplifies Springsteen’s unfaltering commitment to top-notch musicianship and production.